Art Crafts Research Articles

Realizing Pancasila Student Profiles in the Elementary School with Learning Media Based on Local Wisdom 'Barongan Masks'

These research objectives were to examine the values of the Pancasila student profile contained in the use of the barongan mask media and to analyze the effectiveness of the Barongan mask art craft to realize the Pancasila student profile in elementary schools. The research method was a descriptive method with a qualitative approach. The research subjects consisted of 28 students, three teachers, and the headmaster principal at State Elementary School 1 of Kalikejambon, Tembelang Sub-district, Jombang Regency. Three data collection techniques were used in this research, including literature study, observation of the research location, and interviews. Meanwhile, the technical analysis of the data went through three stages, namely data reduction or summarizing important things obtained during the research, presenting data in narrative or tabular form, and drawing conclusions. The research results indicated that: (1) the barongan mask art craft media had values that matched the profile of Pancasila students; and (2) the barongan mask art craft media was considered effective to be used to realize the Pancasila student profile in elementary schools, as evidenced by the achievement of each profile element of Pancasila students (who were faith and feared of God Almighty and had a noble character, global diversity, cooperation, independence, critical reasoning, and creativity). Most of the characters that appeared in school activities were under the key element indicators in each element of the Pancasila student profile.

PERANCANGAN TEKNIK SULAM KRUISTIK SEBAGAI HIASAN PADA KELAMBU TEMPAT TIDUR BAYI

Currently the use of mosquito nets is mostly replaced by using mosquito repellents with modern electronic devices that are filled with liquid. However, excessive use of chemicals is very bad for the health of the body in long term. This is makes the author have the idea to design a baby mosquito net by add a cross stitch technique in creating a motif on the fabric surface design so that the mosquito net in addition to protecting it self from mosquito bites, the mosquito net can also be a decorative in the room because of the motifs made using cross stitch techniques. The design of mosquito net product is carried out using the application theory of SP. Gustami in creating craft art there are three stages, the exploration stage which includes the search for ideas and data for the initial design, the design stage includes data analysis as a reference in making the work, and the embodiment stage includes the final result of the work. The cross embroidery technique was chosen as a way to apply the motif, which has been considered from how the structure of the perforated tille fabric. The advantages of using the technique of cross embroidery, the resulting motif are more neat and orderly, the shapes and colors that are expected from the beginning of the design can be realized ad expected.

Crafts: Between Archetype and Marketing

Contemporary craft has gone beyond the pre-industrial stage in terms of technology, transforming into a service sector as well as small and medium industry. Not only does it bring together many of the most technologically and organizationally advanced enterprises, but it also refers to traditional, “craft” ways of production or design. Also, handicrafts and artistic crafts constitute a segment of craft activities. It plays a significant role in modernization and modification of the existing cultural systems by making a more or less conscious selection of elements belonging to both orders defined as traditional and modern. At the same time, craft supplies many reasons to appreciate its contribution to economic and social development. It provides jobs, it is creative and innovative, offering high quality products and services to customers.
 The aim of the article is to attempt to look at the topic of crafts from a historical and comparative point of view and to fill the cognitive gap by systematizing various concepts of the functioning of crafts. An attempt was made to organize the ways of defining crafts in various countries by characterizing the hitorical, religious and cultural-social dimensions. Then, the marketing potential of crafts, manifested by a large-scale consumer interest in a diversified offer of crafts, was analyzed.

A Social Network Analysis of International Creative Goods Flow

This study used social network analysis to examine the structure of the international trade of creative goods. The results showed that the US, Canada, Europe, and certain Asian countries (e.g., China, the Republic of Korea, Japan, and Thailand) ranked high in terms of out-degree/in-degree, eigenvector, and betweenness centrality compared to other countries in the international creative goods trade network. A quadratic assignment procedure (QAP) revealed interrelations between each creative goods networks. In particular, the new media network strongly interacted with the design and art crafts network. Furthermore, multiple regression confirmed that each country’s gross domestic product (GDP), gross national income (GNI) per capita, population, inbound tourism expenditure, and gross domestic expenditure on R&D (GERD) influenced their international trade of creative goods.

Exhibition activity of the trade of the Fedoskinsky lacquer miniature of the Soviet period of the post-war period (the second half of the 1940s – the beginning of the 1970s).

The subject of this study is an analysis of the exhibition practices of the Fedoskin lacquer miniature craft in the post-war period (from 1945 to the early 1970s). The purpose of the article is not just to tell about the exhibitions of Fedoskin lacquer products of the post–war period, but above all to show those important changes that allow us to consider the post–war period as an important stage in the history of the development of the craft and his exhibition activities. Having briefly reviewed the bibliography of the issue and given a description of the exhibitions of the Fedoskino labor artel in the pre-war period (1920s – 1930s), the author analyzes in detail the most remarkable post-war exhibitions of the craft, finding both common features with the previous period and the features of the differences on which the author focuses his attention. Using the method of comparative analysis, as well as historical-systemic and problem-chronological research methods, the author characterizes the various forms of exhibition activity used to exhibit products of the Fedoskinsky lacquer craft both in the post-war period and earlier. The scientific novelty of the research consists in the analysis of the activities of museum workers and craft artists in the popularization and public recognition of the products of the Fedoskin lacquer miniature in the post-war period. The main conclusion of the article is the statement of the importance of studying the exhibition practices of the Fedoskinsky fishery of the post-war period for the most complete study of its history and public recognition.

Exhibition activity of the Palekh lacquer miniature craft (1923-1939)

The article is devoted to the analysis of the exhibition activity of the masters of the Palekh lacquer miniature. The author has chosen as a chronological period the first fifteen years of the existence of this fishery – from its inception in the first half of the 1920s to the beginning of the Second World War. The subject of the study, therefore, is an analysis of the exhibition practices of the Palekh art craft of the pre-war period (1923-1939). The article shows the importance of the exhibition activity of the Palekh lacquer craft at all stages of this brief, but nevertheless extremely eventful period. The purpose of the article is to show the importance that the exhibition activity had for the success and public recognition of Palekh as a new and quickly became the most famous lacquer craft in Russia. The scientific novelty of the article consists in the fact that, using historical-typological and structural research methods, as well as a historical-systematic approach, the author analyzes the most important domestic and foreign shows of the 1920s - 1930s, at which the products of the Palekh lacquer miniature were exhibited. The author emphasizes an important circumstance: the very formation and strengthening of the Palekh lacquer miniature craft in the first half and mid-1920s was caused precisely by the success of the prototypes exhibited at the largest exhibitions of that time, such as the All-Russian Exhibition of 1923 in Moscow, as well as the International Exhibition in Paris of 1925. At the same time, it is shown that Palekh's products continued to be successful at the shows (the exhibition "10 years of October" in 1927, the Soviet Exhibition in New York in 1928, the International Exhibition in Paris in 1937 and many other exhibitions analyzed in the article). Thus, it is the justification of the success of the exhibition activity of the Palekh lacquer miniature craft as an important factor of its public recognition that is the main conclusion of the article.

Identification of suitable sites for the community-based ecotourism developments in Abijiata-Shalla Lakes National Park, Ethiopia

Ecotourism is one of the most effective approaches to resolve economic development and nature conservation. This study aims to select the best community-based ecotourism site and type of ecotourism for local community engagement in Abijiata-Shalla Lakes National Park, Ethiopia. The study has been conducted based on geospatial data, field observation, household survey, and key informant discussion and focus group discussion. Analytical Hierarchy Process (APH) model has been used for pair-wise comparison matrix to determine a suitable area for community-based ecotourism. Factors and criteria were identified to determine their weight impact to map and quantify the suitable area for community-based ecotourism. The major portion of the national park, which covers 65.48% is unsuitable for community-based ecotourism development while only 5.1% of the park is highly suitable for community-based ecotourism development due to the forest coverage and numerous biodiversity occurrences. The major types of community-based ecotourism are hot spring water, fike maintains travel and camping, viewpoint and art craft site, ostrich farm, photograph and video making, tourist guides and horse ride. This study can be used for the stakeholders to implement and construct community-based ecotourism interventions.

TRADITIONAL SILK HEADSCARVES "TASTAR" OF THE KUMYKS (TO THE PROBLEM OF THE REVIVAL OF THE TRADITIONAL CRAFT)

The silk headscarves tastars were widespread in the North Caucasus in the late 19th century. In Dagestan, they were produced in the Kumyk villages and were part of the traditional costume of the Kumyk women. The aim of the article is to consider the modern state of traditional crafts among the peoples of Dagestan on the example of the tastar headscarves, to demonstrate the relevance of revival of some types of national artistic crafts. The exclusion of applied arts by industrial products, globalization and the elimination of ethnic and cultural differences caused by it, actualized the study of pieces of material culture in the scientific and art community in order to preserve them. In Dagestan, the preservation of ancient folk crafts is implemented through various educational programs, the creation of centers of traditional culture, schools of folk arts. The article is based on the study, conducted by the methods of interview and participant observation in such centers. The author visited several functioning centers of teaching tastar weaving in Dagestan (Nizhnee Kazanishe, Aksay), talked with craftswomen. The article provides versions of origin of this unique technique of tastar weaving, traces the history of this craft, describes active centers, gives names of the keepers of the old tradition. The conducted research reveals that the modern state of tastar weaving is mainly supported by enthusiasts in villages – old centers of the studied craft.

Pottery Making Technique in the Early Islamic Era During the Period (1-4 AH / 7-10 AD) Selected Models in the Civilized Museum of Erbil

Pottery is everything made of clay and grilled with fire. As for the word porcelain, they were used for glazed pottery. Pottery is considered one of the most important artistic crafts that man has practiced since prehistoric times and used for his daily needs such as cooking and storing grains, as well as using it for religious rituals and burial of the dead for ease of formation, but in the Islamic era Pottery and pottery are among the most important industries practiced by the Muslim artist since the dawn of Islam. In the beginning, the Arabs followed the same simple traditional methods that were prevalent in the manufacture of pottery and ceramics in Iraq, Egypt and the Levant. However, these al-Fakhrani took the reins in this industry since the second century AH. They began to innovate and innovate, whether in technology, shapes, or decoration. This study deals with technology and pottery in the early Islamic era during the century (1-4 AH / 7-10 AD). Before, in this research, technology and the pottery industry in the early Islamic era were oriented with a scientific study of the types of clay used in the studied models, then we clarified the most important methods used in the studied pottery, then we clarified the most important methods used in surface treatment of pottery and ceramic models, as well as we touched on the most important errors and damage That appeared on some pottery and ceramic models before and after the process of pride, and finally we talked about the types of rims and the general rules of the models studied.

EDUCATION SYSTEM DEVELOPMENT IN THE FIELD OF FOLK ARTISTIC CRAFTS AND DECORATIVE-APPLIED ARTS IN THE UDMURT REPUBLIC

The subject of the article is a historical process of teaching folk artistic crafts and decorative-applied arts in the Vyatka province and the modern Udmurt Republic. The research source was archive documents, reports of craftsman houses and centers, reports of educational institutions, published editions. The article studies the influence of the first exhibition events of the mentioned zemstvo and the first handicraft museum on the improvement of skills of artists from the people; describes the opening of training workshops, schools and classes for craftsmen teaching. The article indicates the reasons for the decay of traditional art craftwork during the period from 1930 to 1990, and the circumstances of the formation of new conditions for their development during the post-Soviet period. In the article, modern forms of specialist training in this field are represented based on the example of interaction between professional educational organizations, industrial enterprises, cultural institution. The growth factors of skills level among the specialists of craftwork centers and houses in the Udmurt Republic have been determined. Methodological cooperation and promotion of folk masters' art have been studied in the system of supplementary education. The article analyzes the interaction between scholars and specialists of craftwork centers while creating programs for teaching traditional types of decorative-applied art, enhancing the population engagement with national folk crafts as a cultural heritage of ancestors.

Воспитательный потенциал народных художественных промыслов как средство развития социально-культурной активности населения

The purpose of the study is to identify the features of the educational potential of folk art crafts as a means of developing the socio-cultural activity of the population. The article deals with the phenomenon of folk arts and crafts in the modern cultural space, which actualizes the socio-cultural activity of the population through the initiation of interest in the local history features of the region. Scientific novelty is characterized by the identification and justification of the effectiveness of the applied art and development technologies of folk applied arts, contributing to the development of socio-cultural activity, the formation of their moral worldview, cultural self-development and creative self-actualization of the population. As a result, the pedagogical potential of folk art crafts in the development of the socio-cultural activity of the population through modern technologies of socio-cultural activities, naturally determined by external and internal factors of local cultural and historical features of the territory, was revealed.

Analysis of the activities of enterprises of folk art crafts RD

Analysis of the activities of enterprises of folk art crafts RD

Designing Innovative Craft Enterprises in India: A Framework for Change Makers

Although artisanal crafts and craftsmanship are in high demand globally, the benefits artisans receive are often negligible. The rules of the open market also make it difficult for them to compete. A number of Indian enterprises have introduced innovative organization models to catalyze social change and support artisans’ wellbeing by involving them more directly in the organization. Based on a review of literature on social entrepreneurship and organization design using a design thinking lens, and three case studies on craft enterprises in India, we find that artisans cannot be empowered separately from their communities. Further, any design intervention seeking to bring about social change through artisan participation must be grounded in an in-depth understanding of local context, artisans’ needs, and market dynamics. We contribute new knowledge about the crucial role of the change maker in successfully transforming a design intervention into a sustainable enterprise, and propose an original framework for designing innovative organizations based on effective participation and empowerment of the artisans producing goods for sale.

Feministyczne topografie miasta – Neapol Eleny Ferrante

The paper examines the role of Naples in Elena Ferrante’s works. The regional capital of Campania serves here as a topographical frame for the protagonists’ experiences and, at the same time, as a plane onto which Ferrante inscribes fundamental dimensions of her work, related to autobiography, identity, intertextuality and artistic craft. Central to such poetics of space is the inseparable relationship between Naples, women’s experiences and creativity. The essence of this relationship is defined by such notions as labyrinth, porous, ghettoization, and “smarginatura”. Rewriting the city from the perspective of women’s sensitivity and memory subversively deconstructs its androcentric and oppressive qualities, emphasizing women’s agency as dux feminae facti, marking their own spaces in the urban and artistic topography.

Проблемы сохранения и актуализации наследия народных художественных промыслов

Folk art crafts are a unique cultural phenomenon, the preservation and actualization the heritage of which seems to be the one of the ecological problems in the light of the recognition at the state level and in the scientific community of the importance of the successive development of culture in the interests of society. The heritage of folk-art crafts in all their type and species diversity has a high information potential as a cultural phenomenon and value as a carrier of the cultural code of national and local significance, however, being outside the understanding of cultural heritage as a valuable part of social memory, it is excluded from the process of sustainable development of society. Studying the history of folk-art crafts in a wide historical and cultural context, defining the episteme of the heritage of folk-art crafts – these are the priority tasks for introducing the heritage of folk-art crafts into the integral system of cultural heritage as its organic part with the aim of further developing measures for its preservation and inclusion in the current culture. For the first time, the article presents a scheme of periodization of the general development of folk art crafts on the basis of the adaptive-activity approach to the culture of E. S. Markaryan, the current directions of the study of folk art crafts at the same time as an economic and cultural phenomenon are identified, the forms of actualization of the heritage of crafts that exist today are analyzed and the current risks associated with the commodification of the heritage of folk art crafts are identified.

Stitch embroidery as a traditional art craft of the Ivanovo region

Stitch embroidery as a traditional art craft of the Ivanovo region

ОРСКАЯ ЯШМА КАК ОБЪЕКТ ЭКОЛОГИИ КУЛЬТУРЫ ОРЕНБУРЖЬЯ

The article deals with the Orsk jasper within the two components of the “ecology of culture” concept – ecology of the natural environment and cultural heritage. It analyzes the artistic development of the Orsk jasper, as use of a natural material and as one of the folk art crafts of the Orenburg region and the centers of stone-cutting art of the Southern Urals. The author considers the actual place of Orsk jasper in different spheres of cultural and practical activity and substantiates the necessity of an integrated ecological and cultural approach in the study, preservation and development of the natural and cultural heritage of the Orenburg region: the natural environment and stone-cutting art, as objects of cultural ecology.

КОМПЕТЕНТНОСТНАЯ МОДЕЛЬ ИНОЯЗЫЧНОЙ ПОДГОТОВКИ ХУДОЖНИКА В ОБЛАСТИ ТРАДИЦИОННЫХ ХУДОЖЕСТВЕННЫХ ПРОМЫСЛОВ

The article explores the competence characteristics of a specialist-a future artist of traditional artistic crafts in the field of language training, describes the specifics of language training in the university of traditional artistic crafts, analyzes the competencies acquired by students during the study of the discipline «Foreign language», provides and interprets the algorithm of work aimed at the formation of foreign-language professional competence of students.

KAJIAN SOSIAL KARYA SENI KRIYA KAYU DI DESA MULYOHARJO KABUPATEN JEPARA

The development of handicrafts in Indonesia is now experiencing such a rapid pace, especially those oriented to various modern technological facilities lately. Accompanying all human needs that are passive and have an active function, furniture or household furniture products are the main choice in various worlds of property today, both domestically and abroad. The relationship between craft art and several aspects that must be met shows the existence of a problematic in its embodiment. This is probably not realized by the kriyawan who appear instantly and oriented to a market. It's the same with craftsmen in Mulyoharjo Village, although there are those who have the idea of working through an artistic instinct and become unconventional craft craftsmen in their social community.

Formation and development of Ukrainian tapestry in the environment design

The purpose of the article is to highlight the provisions and track the historical evolution of a special Ukrainian art craft, known as the art of tapestry in environmental design. The research methods are based on art history analysis, the principles of historicism, scientific consistency, and objectivity in the study of Ukrainian tapestry. Scientific novelty. The historical origins of tapestry art are revealed, the issue of introducing innovative techniques for making tapestry is raised, which influenced the modern design of the environment of the XXI century. Based on the results of the study, we can conclude that the art of tapestry follows the traditions of folk carpet weaving. In modern conditions, the tapestry is able to actively fill the ethnocultural environment, in rare cases, it is a monumental decorative art. From aristocratic and elite art, it becomes more democratic, decorating the interiors of the premises of the XXI century.
 Keywords: tapestry, carpet weaving, tradition, innovation, environmental design.